Plot Matters: Plot Structure 101

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Did you know that 55% of readers who DNF’d (DNF = did not finish) a book gave up because of plot issues? 

Yup, you read that right.

A survey by Goodreads found that the vast majority of dissatisfied readers are turned off by plot issues. That’s compared to the 20% who are turned off by weak writing and the measly 2% who are pushed out by grammatical issues and typos (a.k.a. bad editing).

How can you keep your book out of the DNF pile? 

Plot structure. 

A tightly plotted structure that amplifies your story’s conflict and keeps readers turning pages, is your absolute best defense against being DNF’d.

Consider this blog post your introduction to all things plot structure. I’ll break down what it is, why it matters, and some common myths about plot structure that can derail your writing process. 

First, what is structure? 

Think of structure as a map through the journey of your novel. No matter what genre you’re writing, plot structure provides a guide to the check points and way stations that will keep your story fueled up and moving forward from start to finish. 

For readers, structural checkpoints provide a subconscious signal that your story is going somewhere. These checkpoints can help you meet readers’ expectations and provide a satisfying payoff when readers finally hit “The End.” 

Contrary to popular belief, there is no one way to structure a story. There are a variety of structure systems and tools out there. You’ve got options. Some are more common—three act structure, the hero’s journey, Save the Cat!, Freytag’s pyramid—and others less so (I’ll go over them in detail over the next couple weeks). Though each of these systems puts their own unique spin on story structure, many have commonalities. All include some sort of beginning, middle, and end. Many incorporate some version of the inciting incident (the moment when the main character is yanked into the story) and the climax (the moment when the conflict boils over and gets pushed to a resolution). Most have some kind of midpoint, a defining moment that pushes the story and conflict in a new direction.

Beyond these similarities, each plotting system adds its own flavor, whether differentiating itself by the number of steps (also called beats), the order of the steps, and any other number of unique factors. 

Don’t let all that variety overwhelm you. Instead, look at it as an opportunity. If one structure system is giving you trouble, try another on for size. You never know what’s going to click with your unique brain. A system that boggles your writer friend’s mind might be your magic bullet and vice versa. See what clicks and run with it! 

But why bother? 

It can be tempting to wing it, to just let your story take flight in any random direction that strikes your fancy. And, don’t get me wrong, that can work, especially during the drafting process (see below), but at some point you need to assess your novel’s structure and make sure you’re hitting the right beats for your genre, in the right order, at the right pace.

Why? That’s how you ensure that you give your readers the best possible experience. 

Deviating significantly from the norm can work, but it can also limit the size of your potential audience. Meeting structural norms can help you hit the mark for readers and give your story broad appeal. After all, isn’t that the goal? To find readers who love your work and to make sure that it not only meets, but exceeds their expectations? 

Wait, but what if I’m a pantser? 

Don’t worry. I get it. I’m a pantser too (you can read about my pantser journey here). But that isn’t a free pass to ignore plot structure. It just means imposing plot structure during the revision process. That may sound scary, but it just means being willing to add scenes that are missing, removing those that don’t fit, and of course rearranging scenes if you find out that a different order is going to better serve your story. 

If you’re not willing to make those changes, pantsing just isn’t an option. Sorry to be harsh, but it’s true! Writing by the seat of your pants requires putting on your editing coveralls and wading through the muck that follows. It’s not always pretty, but it’s a legitimate way to write (or, shall we say, rewrite) a novel. You can read more revision tips for pantsers here.

Don’t worry. Over time, you can start to internalize plot structures. You may find that your future drafts will be more structurally sound than your first novels. Eventually, you’ll produce cleaner drafts and your revisions will be easier. Or not, and that’s okay too. I happen to love revision far more than drafting—after all, that’s where the magic really happens! 

Now, to address some of those pesky story structure myths. 

#1- Aren’t all story structure systems rigid, one-size-fits-all systems that require complex mathematics? 

I can understand where this misconception comes from. After all, you’ve probably seen those excessively detailed plot charts that come with strict percentages and exacting demands for how and when you hit each plot beat. 

What the authors and editors selling these systems won’t tell you is that these systems are approximations. Even the books that they use as examples don’t follow the percentages perfectly.

Most often, these systems are used as tools of analysis. The stories that they use as examples to sell you on the system were written before it existed. Don’t believe me? I wrote an entire blog post on it here. That doesn’t mean these systems can’t help you, it just means that you don’t need to obsess over hitting the exact numbers. You can modify or adjust them as needed to fit your story. Also, don’t feel obligated to use these systems during your outlining or drafting stage—you can always think up a scene or beat later and add it in to to your next draft. It’ll still work as part of your revision process, I promise. 

#2 – There is one mythic story structure system ubiquitous/ that is better than all the rest.

At some point in your writing life you may have been taught that all stories follow one mythic structure, embedded in our DNA.

The hero’s journey. The monomyth. It’s everywhere, all the time, right? 

Yeah, not so much.

The hero’s journey is widespread in Western culture. But it’s far from the only option. It’s not even the only option in Western mythic culture. The heroine’s journey and virgin’s promise are other mythic forms you can choose. Not to mention all of the other mythic structures that come from non-Western cultures. 

If the hero’s journey just doesn’t feel right for your story, know you have other options. Explore widely. Read deeply. Figure out what works for you and your stories. 

Happy Writing! 

P.S. I offer a service that will help you write a tightly-plotted, well structured novel: the outline critique. Whether you’re still at the planning stages or revising a messy first draft, this service gives you professional feedback you need to give your book an effective, gripping structure.

Interested? Grab your outline critique now!